Category Archives: Arts, Culture & Entertainment

INTERNATIONAL: ARTS : INDIA’s HUMAN- WILD LIFE CO-EXISTENCE- Installation in New York, USA : A herd from Nilgiris takes over New York, throws spotlight on a jumbo problem

The statues have been conceptualised by Gudalur-based The Real Elephant Collective (TREC) and sculpted from boiled Lantana by 200 tribal artisans from the Nilgiris, who make up the Coexistence Collective.

At the elegant Meatpacking district of New York, where shopfronts have names such as Rolex, Gucci and Hermes, a different kind of display is attracting the crowds — a herd of 100 wild elephants that has made its way from Gudalur in Tamil Nadu’s Nilgiri hills to the US.

In the parade are kind-eyed matriarchs, playful calves, bulls with outstretched trunks and grand tuskers. These elephants are made of Lantana, one of the 10 worst invasive plant species in the world, that’s making food scarce for these giants in the forests and driving them out.

The statues of the pachyderms make up The Great Elephant Migration, a public art installation that has been to Kochi, London and Bengaluru before trumpeting into New York, where it is one of the biggest such works on display. The installation, which highlights the importance of human-wildlife coexistence and the need to protect Asian elephants, is the brainchild of a UK-based conservation group, Elephant Family USA.

The statues have been conceptualised by Gudalur-based The Real Elephant Collective (TREC) and sculpted from boiled Lantana by 200 tribal artisans from the Nilgiris, who make up the Coexistence Collective. “The scene in New York is hard to describe. It is amazing to see hundreds and hundreds of people, all so moved by the elephants. People who live nearby keep coming back and volunteering to look after the elephants,” says Tarsh Thekaekara, a researcher and conservationist who works on human-animal inclusive models of nature conservation.

Tarsh, who co-founded TREC with Subhash, Subhra Nayar and Tariq Thekaekara, says,“The logistics of travelling with the elephants is not difficult. The challenging part is to push the message of coexistence. Traditional conservation assumes that we need to protect only the pockets of forests and ignore the rest. That is not working. Animals are coming out of forests everywhere in the world.”

And who would know about human-animal conflict better than the tribals? Gudalur lies in the middle of the Western Ghats, located between Karnataka, Tamil Nadu and Kerala, and close to four forest reserves, Mudumalai, Wayanad, Bandipur and Mukurthi. Locals here have grown up seeing elephants and leopards around their houses, but fatal elephant attacks have risen over the past few years.K

Ramesh Madan, who is in his 30s and belongs to the Betta Kurumba tribe, says, “When I was a child, an elephant or two would come (to our houses) in the jackfruit season. I have never known so many elephants to come near our houses, as has been happening in the last few years. When we go into the forest to collect things, I can see that Lantana has taken over large parts. It is the reason why elephants are coming out of the forest.”

A weed that sports clusters of small, colourful flowers, Lantana camara was brought to India by the British as an ornamental plant in the 1800s. According to a study in the Journal of Applied Ecology in October 2023, Lantana has penetrated over 5,74,186 sq km of India, including 50 per cent of the country’s natural areas.

In a takeover by Lantana, which is fast-growing and toxic, a forest gets completely matted, not allowing for growth of any other plant species. Deprived of their food sources, animals are pushed out of forests into urban areas. Moreover, as Lantana goes up trees, forest fires become more widespread. TERC co-founder Subhash says, “If trees burn, they don’t come back as quickly as grasses.”

Tarsh, Subhash, Subhra and Tariq, who were schoolmates, came back to Gudalur to contribute to their home. Between 2013 and 2015, TREC started a mapping exercise at the four forest reserves in collaboration with the Shola Trust in Gudalur. “Initially, the forest department was in denial and we had to physically ascertain how bad the Lantana problem was. We found that 30-40 per cent of the forest was taken over by Lantana. If 30 per cent of land area is not viable for animals, it could be the reason elephants were coming out of forests,” says Subhash.

It was Tarsh and Subhra who first came across Ruth Ganesh, a trustee of the Elephant Family. The organisation creates outdoor figures of elephants to draw attention and finances for the protection of Asian elephants. TREC, which was looking for fresh ideas, wondered if it could make life-size elephant statues out of Lantana. “What was beautiful in that whole exercise was that the indigenous communities did not need to be taught to make the elephant figures,” says Subhash.

In the workshop above his office in Gudalur, artisans from the Soliga, Betta Kurumba, Kattunayakan and Paniya tribes are immersed in creating elephant statues. Each model is a likeness of a real wild elephant that the tribals coexist with. Subhra, who has a background in puppetry, is the resident designer. Using photographs, she constructs metal structures of elephants over which the artisans place strips of Lantana, which are cut out from the forest by a group. “Lantana are boiled and used for the sculptures,” says Tarsh.

The pieces are sold by TREC to partners, who auction them in the US and the UK, among others. The profits go into supporting human-wildlife coexistence projects across the world, including India. In India, the funds are disseminated through the Coexistence Consortium, which comprises ecologists, anthropologists, geographers and conservationists, among others, who promote the concept of coexistence.

M Ranjini, also from the Betta Kurumba tribe, manages the production of the Lantana elephants. “We feel hopeful that the New York exhibition is spreading our message,” she says.

India’s policy on invasive species is, according to Delhi-based naturalist and author Pradip Krishen, “patchy at best and close to nil at worst”. “We are one of the last countries in the world to have an official Invasive Alien Species (IAS) list. In Delhi, where I live, the forest department stands by while a highly invasive tree like subabool (Leucaena leucocephala) fills up the Ridge and unoccupied verges in the city. The invasive vilayati kikar accounts for more than 90 per cent of the trees inside the huge Central Ridge in the heart of the city. Delhi’s Tree Act is completely silent about invasive plants. On a scale of 1 to 10, I would say that awareness might be 4 or 5, but effective action and policy remain abysmally low at 1 or 0.5,” he adds.

Krishen says that Lantana — like Chromolaena — has proliferated under the noses of forest authorities. “I have heard foresters say that Lantana is being unnecessarily demonised and that it provides habitat for small animals like hares and pigs, as well as food for bears, butterflies, and so on. This needs to be weighed against the harm Lantana does to natural habitats, such as pushing out native plant species, reducing forage for wild ungulates (animals with hoofs), having many deleterious effects especially on the herbaceous layer and greatly reducing biodiversity. The areas most affected are dry deciduous forests, which includes all of northern India upto the sub-Himalayan zone, all of Central India, parts of the arid zone in the west excluding the Thar desert and along the Eastern Ghats,” he says.

Subhash adds that, for generations, tribal communities managed forests. “After the Wildlife Protection Act 1972, they were stopped from accessing forests. Controlled forest floor fires are one of the ways indigenous communities manage forests. That helped because grasses grew well and so herbivores did well. With Lantana taking over the forest, the viability of forests was reduced. We would like indigenous communities to access forests so that they can actively participate in its management. This became another driver for us to get involved,” he says.

Tarsh adds, “If we carry on with the traditional model, we are creating pockets of forests that are being taken over by the Lantana. We are destroying the rest of the world and creating unhealthy environments for ourselves to live in. That is what we have to change. It is the vision that we are pushing overall with the Lantana elephants and it is not easy for people to grasp. They see the elephant, are amazed by it and take home the word ‘coexistence’. But, slowly, coexistence is a bigger message that we will be driving.”

source/content: indianexpress.com (headline edited)

INTERNATIONAL: CHINESE VISITOR to INDIA IN 629 CE : Xuanzang – The early visitor to Nalanda, all the way from China. Excerpts of William Dalrymple’s latest Book – ‘The Golden Road: How Ancient India Transformed the World’

Xuanzang’s epic journey to one of India’s largest early centres of learning. An excerpt from William Dalrymple’s latest book ‘The Golden Road: How Ancient India Transformed the World’.

Late in the autumn of 629 CE, a tall, well-built man, twenty-nine years old, set off on foot from the walled capital city of Chang’an. He was heading westwards, towards the wastes of the Taklamakan desert and beyond that, so he hoped, over the peaks of the Pamirs.

In many ways the walker could not have chosen a worse time to set off on such an ambitious journey. The country was still in the middle of a civil war, and robbers and brigands haunted the unpoliced roads. To make matters worse, there was also a ban on citizens leaving the country, part of an attempt by the new Tang authorities to stop people joining the insurgent groups lurking in the western border country. But the walker was no rebel. Instead he was an urbane and learned monk, ordained into one of the most philosophical of the Mahayana Buddhist orders.

Xuanzang wanted to travel to the source of the religious tradition to which he had given his life. Specifically, he wanted to enrol at the great Indian Buddhist monastery and university of Nalanda. There he wished to study the manuscripts held in the largest Buddhist library in the world. Nalanda, however, lay 3,000 perilous miles south-west of Chang’an, and getting there would be no easy task, particularly as the Tang authorities had just turned down his application for a travel permit.

Not only was it a time of violent upheaval, it was also the year of a great famine, and there was every likelihood that if the authorities or the brigands did not stop Xuanzang, starvation would. But the monk was well used to taking risks. Although he had been born into a family of elite Confucian scholars and public officials — his great-grandfather had been Governor of Shandong and his grandfather was the head of the Imperial College at Beijing, in reward for which the Emperor had endowed the family with the revenues of an entire town — it was nevertheless Xuanzang’s fate to live in the violent and fractured period between two great dynasties. One, the Sui, was falling and the other, the Tang, had yet fully to establish itself.

Xuanzang’s father, a “brilliant and elegant man, with bright eyes, who used to dress himself in the manner of a Confucian scholar”, reacted to the disintegration of his world by immersing himself in the classics. “Anticipating the fall of the Sui, he
buried himself in his study with his books. Many offers of distinguished
positions were pressed on him, which he persistently refused.”

After his death, two of his sons became Buddhist monks, hoping to find within themselves a peace that was notably absent in the world around them. But there was no escape from the endemic violence. In 618, aged thirteen, Xuanzang and his elder brother had had to flee for their lives through the fields along the Yellow River after their monastery in Luoyang was threatened. At this time, according to Xuanzang’s friend and biographer Huili, “the House of Sui lost power, and the country fell into a great turmoil”.

The imperial capital became a nest for brigands like Zhe the Bandit, and the region between the Yellow River and the Luo river turned into a cavern for men as brutal as jackals and wolves. Civilisation collapsed, and the Buddhist community dispersed. White skeletons were scattered at crossroads and the region was depopulated;
no smoke drifted from cooking fires.

Xuanzang was deeply troubled. It was not just that society was disintegrating in front of his eyes; he was worried that the Buddhist tradition he lived and studied was deeply corrupted too. He could see that the texts he used were full of errors and discrepancies. “When he compared editions of the holy scriptures,” wrote Huili, “they showed differences either vaguely or manifestly, so that he was at a loss to decide which of the theories he should follow.” Despite risking his life travelling through the burning countryside from monastery to monastery in search of Buddhist masters who could resolve these inconsistencies, he found none who could adequately answer his questions. Xuanzang felt a growing need “to make further specialised studies and to resolve the contradictions… Thus he resolved to travel to the West, to India, to clear his doubts.”

He had heard that the university monastery of Nalanda contained the fullest and most complete collections of the texts of the tradition known as Yogacara, a spiritual path first outlined by the Gandharan monk Asanga, at the dictation of the Bodhisattva Maitreya, or so the monks maintained.

Asanga maintained that our experience of the world is nothing but an illusion, a misleading creation of our own consciousness. Xuanzang believed the writings of Asanga’s Yogacara school to be the peak of all Buddhist thought, and the one which had preserved the most profound and authentic secrets of his own Mahayana tradition. In particular Xuanzang wished to seek out one specific manuscript — the Yogacarabhumi, “Treatise on the Stages of Yogic Practice”. This was a text for which Xuanzang had been searching all his adult life.

Xuanzang had also heard that at Nalanda the supreme master of Yogacara, a 106-year-old scholar called the Venerable Shilabhadra, was still teaching and, despite his age, taking on new pupils. Ignoring the many dangers, Xuanzang resolved to set off westwards, knowing that centuries earlier other Chinese monks such as Faxian had successfully made the same journey and returned alive, even leaving brief accounts of their journeys. “As the road was obstructed and long,” wrote Xuanzang, “the transmission [of Buddhism to China] was still incomplete… Secretly praying for spiritual protection, I determined to go out from the land of my birth and throw myself into the realm of ten thousand deaths. When passing in the footsteps of the Buddha, I paid my respects to the numinous [presence] he left behind. If there were people who propagated the dharma, I sought out their authentic teaching. When I passed through a place, I was moved to see what I had never seen before. When I encountered a word, I rejoiced at hearing what I had never heard before. In this way, I exhausted my life’s resources to copy texts that were missing at home.”

Xuanzang’s sixteen years of travels, and the different accounts that he, his biographer Huili and his various followers and correspondents have left of his journey, bring to light an entire world that is otherwise lost in shadow and archaeological ambiguity. It is not just that we find ourselves able to draw on a sudden glut of well-verified letters to and from Xuanzang and his learned correspondents; we also have Xuanzang’s own travel book, The Great Tang Dynasty Record of the Western Regions, the most comprehensive account of seventh-century Central Asia and India ever produced, and written with all the care of a sceptical scholar who was unusually scrupulous in matters of fact. “Although it was difficult to exhaustively verify all matters,” he wrote in a postscript, “I never resorted to speculation.” Most remarkable of all, at over 80,000 characters, Huili’s biography, written during his master’s old age and completed after his death, is the fullest single biography to survive from pre-modern China.

These different sources illuminated the intellectual and spiritual bedrock of the Indian ideas that were finding their way over the mountains and deserts and coming to change the way people in China lived and thought. It is one of the richest moments of cultural and philosophical interaction in world history. In the course of China’s first really intimate encounter with an equal civilisation, not only did Buddhism profoundly transform China, bringing about a massive metamorphosis of its arts, history, society and culture at both popular and court levels; at the same time, and no less profoundly, Buddhism was changed and moulded by China.

No one really knows when Buddhism first reached China. Xuanzang himself believed that it had arrived as a result of “a dream of the Emperor of the Han dynasty”. According to this legend, the Chinese Emperor Ming (r.58-75CE) had a vision of a golden being who had a nimbus behind his head that shone like the sun. The Emperor asked his advisers about this strange apparition and was told that in the west there was a deity named the Buddha. “As a result,” wrote Xuanzang, “envoys were sent to the West, and consequently the Right Dharma was transmitted.”

Excerpted with permission from ‘The Golden Road: How Ancient India Transformed The World’ by William Dalrymple, published by Bloomsbury

source/content: telegraphindia.com (headline edited)

NATIONAL: PARTITION HISTORY : Coventry University to digitise India’s post-partition heritage

A university is set to preserve digitally more than 20,000 pictures, prints and documents from the post-partition period in India.

Led by Coventry University, two decades of India’s history, from 1947, will be digitised from a collection housed at Hamilton Studios in Mumbai.

The collection contains more than 600,000 objects from nearly a 100 years of Indian heritage – including partition, which ended two centuries of British colonial rule and divided the subcontinent into two separate nations: India and Pakistan.

The project will specifically preserve items – including passport photographs and invoices – for the period up to 1967.

The collection also includes film negatives, test prints, and legal documents.

The project was inspired by Coventry Digital – an online archive of the city containing more than 70,000 local images, videos and documents.

Ben Kyneswood, professor at Coventry University’s Research Centre for Creative Economies, will collaborate with Hamilton Studios to digitise the images.

He said: “The success of Coventry Digital has demonstrated the power of digital technology in preserving and sharing cultural narratives.

“I am eager to extend this legacy to the preservation of India’s cultural heritage, ensuring that future generations have access to these invaluable historical records.”

A university spokesperson said the archive will aim to capture migration stories to “bridge historical divides, foster cultural preservation and illuminate how the partition continues to shape the stories of India and its people.”

source/content: bbc.com /shannen headley (headline edited)

NATIONAL: 15th August : Independence Day 2024: India celebrates its 78th I-Day this year; know theme, history, significance, celebrations

On August 15, India celebrates its 78th Independence Day. Know all about the theme, history, significance, and celebrations.

 India celebrates its Independence Day annually on August 15. This year, the nation will mark its 78th Independence Day or Swatantrata Diwas on Thursday. Learn about this year’s theme and Independence Day history, significance, and celebrations as we celebrate the day.

Independence Day 2024: What is the theme this year?

As India celebrates its 78th Independence Day, the government of India has announced the theme for this year is Viksit Bharat or Developed India. It symbolises the vision of a developed nation by 2047 and reflects the government’s commitment to transform India. The year 2047 will be the 100th year of India’s freedom from colonial rule.

Independence Day 2024 History and Significance

Independence Day commemorates India’s freedom from British colonial rule for more than 200 years on August 15, 1947. The country began its struggle for Independence with the Rovolt of 1857. Later, around 1920, the freedom struggle gained momentum under Mahatma Gandhi’s leadership. Finally, on July 4, 1947, the British House of Commons introduced the Indian Independence Bill. On August 15, India became an independent nation.

On the eve of India’s Independence, Jawaharlal Nehru, the first Prime Minister of Independent India, hailed this historic achievement as a ‘Tryst with Destiny’. On August 15, Nehru hoisted the Indian national flag above the Lahori Gate of Red Fort in Delhi. It is a tradition that every Prime Minister has since followed with an address to the country.

Independence Day reminds every citizen of the country about the dawn of a new beginning, the freedom struggle, the freedom fighters who laid their lives for the country, and the countless sacrifices they made to achieve liberation from the clutches of Britishers. It is marked as a national holiday in the country.

Independence Day 2024: Celebrations, how to celebrate with loved ones

Every year, the Prime Minister of India hoists the national flag on Swatantrata Diwas and addresses the nation. The Independence Day speech reflects the nation’s progress, achievements, and future goals. This year’s speech will mark the 11th consecutive Independence Day speech by PM Modi and the first during his third term.

Citizens commemorate Independence Day annually with flag hoisting, parades, cultural events, and citizens singing patriotic songs. Schools and colleges host cultural programmes where children are encouraged to recite speeches and poems on Independence, honour our freedom fighters, perform cultural dance from different corners of the country, and sing songs.

source/content: hindustantimes.com (headline edited)

INTERNATIONAL: ARTS & CRAFTS: Jammu Kashmir administration celebrates ‘World Craft City’ tag for Srinagar

The recognition would not only provide a new identity to Srinagar in the global market but craftsmanship would re-establish its position as a prestigious occupation, J&K Lieutenant Governor Manoj Sinha said.

Srinagar was the venue of a special function on July 31 to celebrate its recognition as ‘World Craft City’. Sa’ad Hani Al-Qaddumi, president of the World Crafts Council International (WCCI), present on the occasion.

Mr. Al-Qaddumi, who visited a few craft clusters after his arrival in Srinagar, praised local craftsmanship and efforts to preserve old and traditional hand techniques by locals, including women. “I congratulate the J&K government on the recognition of Srinagar as a World Craft City. Srinagar has joined the well-deserved ranks of craft cities across the world,” Mr. Al-Qaddumi said.

Hundreds of artisans and traders attended the function at the Sher-i-Kashmir International Convention Centre. “In honouring Srinagar city, the World Crafts Council has also honoured the 5,000-year rich Indian civilisation, which kept alive creative traditions and always promoted gifted artisans for their ingenuity and craftsmanship,” J&K Lieutenant Governor Manoj Sinha said.

Srinagar earned the World Craft City tag from the council, which works to empower artisans and safeguard heritage globally, in June this year. Many see the tag as a window for Kashmir to reopen its old linkages with craft centres in Central Asia and Iran.

“We are determined to ensure that their creative products are financially attractive and the work is professionally satisfying. I am sure this recognition as World Craft City will not only provide a new identity to Srinagar in the global market but that craftsmanship will re-establish its position as a prestigious occupation,” Mr. Sinha said.

Srinagar is the fourth city in India to secure the prestigious World Craft City tag. The L-G said J&K was proud to have an inclusive cultural ecosystem, which always inspired weavers and craftspeople. He commended the efforts of the Handloom and Handicrafts Department, and the Industries and Commerce Department for leading the change in a sector that is vital to J&K’s economy.

Saleem Beg, head of the Indian National Trust for Art and Cultural Heritage’s (INTACH) Kashmir chapter said the tag could open a window to trace Kashmir’s journey into the craft sector. “I expect a fillip to Kashmir’s traditional linkages with Central Asia and Iran after this recognition. Fourteen Iranian cities are already listed as craft cities, and I look forward to knowledge exchange too,” Mr. Beg said.

source/content: thehindu.com (headline edited)

INTERNATIONAL: ARTS & CULTURE / INDIAN AMERICAN : Maya Neelakantan: I’m representing all of India on America’s Got Talent stage

Guitarist Maya Neelakantan, who has gone viral for her America’s Got Talent audition, opens up about her dreams, representing India and friendship with legends.

For Maya Neelakantan, who is being dubbed the ‘rock goddess’ after her America’s Got Talent (season 19) audition clip went viral, fame is incidental. “I had never expected all this,” she gushes.

The young guitarist, who hails from Chennai (Tamil Nadu), feels the fusion of Indian classical music with rock and metal is “exciting and hasn’t been explored much”. “These genres are so underrated together! I want to create my own music, which is more like the AGT performance,” she shares.

The 11-year-old went on the reality show stage dressed in an embellished lehenga-kurta set, complete with traditional jewellery, and played Papa Roach’s Last Resort infused with notes of classical Carnatic music, creating an audio-visual juxtaposition. “I was representing all of India and wanted to make a place for traditional music, too. My amma helped me organise the outfit, with the earrings and everything,” says the school student.

Neelakantan, who fell in love with Carnatic music at the age of two, learns it online with Prasanna Ramaswamy (Guitar Prasanna).

Speaking about business tycoon Anand Mahindra sharing her video, she said, “I did not expect that at all. It was very nice of him to do this… I have received love and support from guitar lengends, many of whom are close friends. But for him to discover me in this way was very unexpected, and got me love from the entire country!”

Support Matters

Counting her blessings, Neelakantan says that she’s grateful for all the support she gets from her parents (Indian dad and Australian mum) and others: “I’ve received so much support from legends like Gary Holt (American guitarist), who flew all the way from Sacramento to Los Angeles to watch my AGT audition.” She enjoys good following on the internet with 15.8K followers on YouTube and 49.2K on Instagram.

source/content: hindustantimes.com (headline edited)

INTERNATIONAL: MEDIA : Annurag Batra Founder of exchange4media elected to International Academy of Television Arts & Sciences

Annurag Batra is the Founder and Editor-in-Chief of exchange4media, which manages several major media brands.

In Short

  • Annurag Batra elected to International Academy of Television Arts & Sciences
  • He founded exchange4media and chairs BW Businessworld
  • The academy has over 900 members from 60 plus countries

Annurag Batra, Founder of exchange4media and Chairman of BW Businessworld, has been elected as a Member of the International Academy of Television Arts & Sciences.

The prestigious academy consists of over 900 members from more than 60 countries, representing the world’s leading television and media companies.

Annurag Batra is well-known in the media and television industry. He set up exchange4media, creating a new platform for media and television and has made a big impact on the digital media industry.

Batra has created a new sector that others in the field respect and follow. He is a serial entrepreneur, author, angel investor, TV show host, and a believer in the power of dreams.

He is the Founder and Editor-in-Chief of exchange4media, which manages several major media brands. He is also the Chairman and Editor-in-Chief of BW Businessworld Media Group.

Since acquiring BW Businessworld in late 2013, he has transformed it into a modern media conglomerate.

Batra has also served on the Board of Governors at the Management Development Institute in Gurgaon, his alma mater. He was the first graduate of MDI’s flagship program to serve on its Board of Governors from January 2020 to June 2023.

As the founder of exchange4media, he has spent over 24 years engaging with leading media owners, editors, journalists, and news media professionals.

He has built several media brands and large-scale events under exchange4media and is an accepted authority in media and television and has written extensively on these subjects. He is set to release his book in 2025 titled “Media Moguls of India.”

He is expanding his initiatives to the UAE and the MENA region. He is also investing in many media tech startups that are shaping the Indian digital media landscape.

Annurag Batra’s election to the International Academy of Television Arts & Sciences is a testament to his influence and contributions to the media industry.

source/content: indiatoday.in (headline edited)

INDIA: MUSEUMS : Smritivan Earthquake Memorial Museum, shortlisted for Unesco’s Prix Versailles Award 2024?

The Smritivan Earthquake Memorial Museum in Bhuj has been listed among the 7 most beautiful museums in the world under the prestigious Prix Versailles Award.

Prime Minister Narendra Modi on Saturday hailed the inclusion of Gujarat’s Smritivan memorial in the World Selection for the Prix Versailles Museums 2024.

“Smritivan in Kutch is a tribute to those we lost in the tragic Earthquake of 2001. It is a reminder of human resilience and courage as well. Glad that this Museum has found a place on the World Selection for the Prix Versailles Museums 2024,” Modi posted on X.

Smritivan Earthquake Memorial Museum has been shortlisted by Unesco as one of the seven most beautiful museums for the prestigious Prix Versailles Award. Announced each year at Unesco since 2015, the Prix Versailles is a series of architectural competitions that shine a light on the finest contemporary projects worldwide.

Unesco’s Prix Versailles said the seven newly opened or reopened museums simultaneously serve creativity, are the reflection of local heritage and ecological efficiency, and leave extraordinary imprints on their environments. The shortlisted museums will all be competing for three 2024 World Titles – Prix Versailles, Interior and Exterior – whose laureates will be announced at Unesco headquarters by late November, the release added.

It is a matter of pride for Gujarat that an Indian museum has received global recognition for the first time in this manner for its expression of local culture and nature conservation, Gujarat chief minister Bhupendra Patel said in the post.

Here’s all you need to know about Smritivan:

  1. Covering approximately 470 acres, Smriti Van celebrates the resilience of the people who endured the 2001 earthquake, which had its epicenter in Bhuj and claimed around 13,000 lives.
  2. The Memorial, includes the names of those who perished in the disaster, was inaugrated by PM Modi in August 2022.
  3. The state-of-the-art Smritivan Earthquake Museum is organised into seven thematic blocks: Rebirth, Rediscover, Restore, Rebuild, Rethink, Relive, and Renew.
  4. Rebirth: This block illustrates Earth’s evolution and its capacity to overcome challenges.
  5. Rediscover: Showcases Gujarat’s topography and the various natural disasters the state is prone to.
  6. Restore: Takes visitors back to the immediate aftermath of the 2001 earthquake, highlighting the extensive relief efforts by individuals and organisations.
  7. Rebuild: Highlights Gujarat’s rebuilding initiatives and success stories following the earthquake.
  8. Rethink: Encourages visitors to understand different types of disasters and emphasises the importance of future preparedness.
  9. Relive: Offers an earthquake simulation experience in a 5D simulator, giving visitors a realistic sense of such an event.
  10. Renew: Provides a space for remembrance, allowing visitors to pay homage to the lost souls.

source/content: hindustantimes.com (headline edited)

INTERNATIONAL: MIDDLE EAST: Centuries-old documents from Indian community in Oman digitised for posterity 

The Embassy of India, in collaboration with the National Archives of India (NAI), has completed a special digitisation project for the protection and compilation of age-old documents that give us a peek into individual anecdotes of the people of Oman and India. 

For the preservation of the rich history of the Indian community in Oman, this initiative aims to collate and safeguard valuable historical documents held by the Indian diaspora in Oman, many of whom have been residing in the country for generations.

A two-member expert team from the NAI finished the daunting task on Monday in just over a week starting from May 19.

The event concluded at the embassy premises with a successful digitisation of over 7,000 documents. 

Digitised contents include pictures, receipts, letters, certificates, passports, invoices and notes. These records, sourced from 30 families across Oman, trace back as far as 250 years, providing a unique window into the historical presence and contributions of the Indian community in the region.

Speaking at the event, H E Amit Narang, the Ambassador of India to Oman, said, “Our aim was to compile historical documents so that we can have a databank on the centuries-old relationship that the people of the two countries enjoyed.” 

The documents also showcase how Indians were at the centre of trade among the Arab and African countries. Digitised documents adequately prove how Muscat was always a trade hub for so many countries.

“They reveal a web of historical interactions and economic exchanges, illustrating the pivotal role the Indian community played in the trade networks linking Oman, Arabia and Africa. By preserving these records, the project ensures that future generations can access and learn from this rich heritage.”

A notable aspect of the project was the creation of an oral archive, a first for the NAI. 

Kalpana Shukla, an NAI representative, conducted long interviews with senior members of the community, some as old as 80 years. “This is the first time ever that the NAI has done this type of digitisation. Soon, all these records from Oman will be available for people to see. This digitisation is not only for preservation but also for research,” Kaplana said. 

She added that as these digital archives become accessible, they will serve as a valuable resource for historians, researchers and the general public, fostering a deeper understanding of the contributions of the Indian community to Oman’s development.

source/content: muscatdaily.com (headline edited)

INTERNATIONAL: FASHION : Meet Santanu Das, the Kolkata-based fashion designer who crafted Payal Kapadia’s Cannes 2024 outfit

Payal, who won the Grand Prix Award for her film All We Imagine As Light at Cannes, ordered her outfit for the festival from Santanu’s artisanal clothing brand Maku Textiles.

Filmmaker Payal Kapadia carried a piece of Kolkata with her when she walked onto the stage at Cannes 2024 to receive the Grand Prix Award for All We Imagine As Light on May 25. She was wearing an outfit that was exclusively crafted for her by Kolkata-based artisanal clothing brand Maku Textiles in less than a week.

The Telegraph Online recently caught up with Maku Textiles founder-director Santanu Das, an alumni of National Institute of Design, to know the thoughts and craftsmanship that went into Payal’s outfit.

The Telegraph Online: What was your first thought when you came to know that Payal Kapadia wore an outfit designed by you to receive her Grand Prix Award at the Cannes 2024?

Santanu Das: We are part of history now. It was a very special moment. We understood her achievement is going to live forever and with that we will also be attached to her. I wrote to Payal just after I got to know about her Cannes win. It’s wonderful.

Did you know Payal Kapadia before she ordered the outfit from you? How did she come to know about Maku Textiles?

Santanu Das: No, I didn’t know her before that. Maybe that’s because I am not very social and prefer to live in a cocoon.

I don’t know how her team got in touch with me. Things happened very fast. We had to finish the outfit and deliver it in less than a week. I had to send it to Mumbai, and the last person from her team travelling to Cannes hand-carried the outfit.

Could you decode Payal’s Cannes outfit for us.

Santanu Das: We had two pieces — a jacket and a sleeveless silk dress. She wore the jacket at the screening, but it was designed in such a way that you could see the dress from the front. While collecting the award, Payal wanted to open the jacket.

When we were talking about the outfit, Payal wanted something blue and I had something black — but not very black, black. Our signature colour is indigo, so we created a different tonality of black indigo. We also considered that it could be an emotional as well as a vulnerable moment for her and that’s why I wanted her to feel guarded in our design. We talked about how the design needs to be ironed and what earrings would go with it.

Did you speak to Payal to understand how she actually wanted to present herself on the big stage?

Santanu Das: Oh, yeah, we talked a couple of times. We had a long call where we discussed how to go about the styling. We tried to understand what she generally wears and what she would feel comfortable in as we didn’t want to impose anything on her. We were very aware that she is a film director. She is from the creative world, so anything she wears must match her personality.

You are into artisanal fashion. How do you elaborate on it?

Santanu Das: It’s a segment, which isn’t open and big. This specific segment has only a handful of people coming up with handmade signature designs but in a small batch. We do everything by our hand, making it part of a sustainable network. We mix our identity with the neutral cloth to add character to it.

Your label is made in Kolkata and was founded in 2012 but your focus has always been international…

Santanu Das: Our focus has always been on international sales and curation. We want to invest in developing new things. We are present in Japan, China, Taiwan, South Korea, the US, Europe, France, the UK, the Netherlands, Spain and Italy. Stores buy our clothes and then sell them.

In Kolkata, we have an atelier-cum-factory for people who are too keen to visit. We invite them by appointment. Our team comprises 60 people. We have 200 weavers from West Bengal, and our fabric is handwoven. We do everything such as fabrication, stitching and merchandising in Kolkata.

But some people love your work in India…

Santanu Das: I don’t know if anyone in Kolkata knows about Maku Textiles. A few people in Mumbai and Delhi know about us. More than actresses, we get filmmakers, cinematographers and art directors as clients. Anvita Dutt (creator of Bulbbul, Qala) has all my saris. Meenal Agarwal (production director), Konkona Sen Sharma, Tillotama Shome and Dia Mirza wear Maku Textiles. Anushka Sharma also visited our Kolkata studio while shooting for Pari. Both Anvita and Anushka came to know about us from Meenal.

source/content: telegraphindia.com (headline edited)